553
553

PROPERTY FROM THE COLLECTION OF THE PITTSBURGH ATHLETIC ASSOCIATION

Anatole Vély
FRENCH
LE PUITS QUI PARLE (THE TALKING WELL) 
前往
553

PROPERTY FROM THE COLLECTION OF THE PITTSBURGH ATHLETIC ASSOCIATION

Anatole Vély
FRENCH
LE PUITS QUI PARLE (THE TALKING WELL) 
前往

拍品詳情

十九世紀歐洲繪畫

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Anatole Vély
1838 - 1882
FRENCH
LE PUITS QUI PARLE (THE TALKING WELL) 
signed Vély. and dated 1873 (lower left) 
oil on canvas 
69 1/2 by 38 1/2 in.
176.5 by 97.8 cm
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來源

Probably, Goupil & Cie, Paris 
Probably, Knoedler & Co., New York, no. 1940 (acquired from the above, August 1879) 
Probably, Harriet Walton Gilson Reed, Erie, Pennsylvania (acquired from the above, December 1879) 
Corcoran Gallery of Art, Washington, D.C. (by 1880 until at least 1897) 

展覽

Paris, Salon des Artistes Français, 1873 

出版

Edward Strahan, ed., The Art Treasures of America, Philadelphia, [1879-1882], facsimile edition, 1977, vol. I, p. 14

相關資料

It is possible that the legend of a man singing or talking from the bottom of a well on Paris’ rue de Puits-qui-parle was inspired by the echoing of one of the many Gallo-Roman wells on this particular stretch of the Left Bank, but it was Victor Hugo who brought the legend to life in The Hunchback of Notre Dame: "On the hill of St. Geneviève a kind of Job of the middle ages sang for thirty years the seven penitential psalms, upon a dung-hill, at the bottom of a dry cistern" (Victor Hugo, Notre Dame de Paris or The Hunchback of Notre Dame, 1831, as quoted in Strahan, p. 14).

Formerly in the collection of the Corcoran Gallery of Art in Washington D.C., the present work is Anatole Vély's interpretation of Hugo's words. In The Art Treasures of America, Edward Strahan vividly describes the composition: "[the artist] imagines a leaf-shadowed cistern, in the old time; a maiden, lovely a trustful, who trips thither to fill her pitcher. As she draws the water, a soft voice addresses her. The well is talking!" (Strahan, p. 14).

十九世紀歐洲繪畫

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